BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:
Please join us for an artist talk by \;Karen Kraven \;in conversation with Geo rgina Jackson and Cait McKinney. The talk will take place in the gallery&nb sp\;on \;Tuesday 7 July \;starting at \;7PM. \;
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Karen Kraven&rsquo\;s works set up unexpected encounters between sculptures and images\, uncanny resemblances and mislead ing juxtapositions. \;Flip Flop\, Punch Front \;continues Kraven&rsquo\;s interest in sport with an exploration of adornment\, perfor mance and conceptions of gender\, class\, race and nation state. The title of the exhibition refers to specific moves within gymnastics where action\, stasis and the ability to push oneself manifests through composed performa nce. Focusing on excerpted elements of gesture\, costume\, decorated nails and leotards\, and unbridled conviction\, Kraven gathers bodily forms and i mages to question what is absent from the sidelines.

DTEND:20150707T200000 DTSTAMP:20150705T025004 DTSTART:20150707T190000 GEO:43.6585552;-79.4417747 LOCATION:Mercer Union - A Centre for Contemporary Art\,1286 Bloor Street We st \nToronto\, Ontario M6H 1N9 SEQUENCE:0 SUMMARY:Artist Talk: Karen Kraven\, Karen Kraven UID:389183 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On \;Thursday 9 July\, joi n us for an artist talk by VSVSVS in conversation with Georgina Jackson and Ashley McLellan. This talk will take place in the gallery starting at  \;7PM. \;
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Not together\, but alongside \;explores the potentiality of relationsh ips between the viewer and the artist\, the collective and the individual\, and the gallery and the studio. In VSVSVS' \;large scale installation sprawling through the front gallery of Mercer Union\, platforms become seat s\, objects perform and the potentiality of action plays out. Their materia l exploration and unfixed nature in the work conflates the formal and the c omedic. The disparate elements that comprise the installation further empha size its makers as a group of individuals with different ideas and art prac tices working together. That spirit and the process of discovering alternat e viewpoints extends to the gallery visitor\, because the experience is a n egotiation of both physical bodies in space and what it means to assess or determine: to do or undo\, the separation between the studio or gallery\, a nd experiment or art object.
DTEND:20150709T200000 DTSTAMP:20150705T025004 DTSTART:20150709T190000 GEO:43.6585552;-79.4417747 LOCATION:Mercer Union - A Centre for Contemporary Art\,1286 Bloor Street We st \nToronto\, Ontario M6H 1N9 SEQUENCE:0 SUMMARY:Artist Talk: VSVSVS\, VSVSVS UID:389182 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The work in Ghost Host comes from two different groups of imagery and media. The process of cons tructing the imagery however shares some common attributes: both are additi ve processes that start with fragmented sources. In the case of the paintin gs\, small isolated areas of the landscape are recombined to create a sense of unique space and presence. In the collage work\, imagery with inherent texture and photographic detail become edited shapes or fragments with a se nse of their own shape identity\, combined to create new imagery.

The paintings are inspired by historic reference points but combine pai nted elements derived from a variety of source material. My main intention is to create an underlying feeling\, where one place with obviously physica l exterior familiarity represents in a masquerade of sorts something psycho logical\, a thought or sensation with its own sensibility. I like the idea that two or more things are going on simultaneously\, objectivity being sha ped and given new structure by the subjective. The structural aspect of com position resolving\, binding and freezing in place. Although the paintings are full of flux and movement I also hope that a static balance is a recogn izable point of entry into the simultaneity of image and mystery.

The collages are driven by a sense of drawing through editing and cutti ng. The availability of printed colour\, it&rsquo\;s quality and ubiquity\, lend the collages a different sensibility. However\, the formal sensations I hope to evoke are similar to those in the paintings. What manifests itse lf is thankfully less controlled as the context of one shape against or ove r another creates novelty and spatial anomalies. That is for me the engagin g process decided through the arranging that happens before the gluing.

When I initially started this process I would carefully excise s hapes from pictures with a knife leaving the page in the magazine. I was st ruck by how the remaining combinations revealed an underlying image far sup erior in a way to the constructed image I was making in white space. I real ized at that point our expectations of collage are often predicated on it m aking random and unsettling or uncanny juxtapositions. In this way I actual ly feel that these collages are better described as a process of montage\, with the specifics of form and the sense of photographic space and texture being composed in a very purposeful manner. The vibrancy that [I hope] they achieve comes from the juxtaposition of flatness\, in both the white space and the magazine surface\, against the form found in both the volume depic ted in imagery and the identity of the shape and outline.

It is the mystery of perceived movement that these montage works suggest which I find compelling\; the sense of presence in the fabrics and shapes that s peak of structure\, like some great apparatus that has held them in place h as suddenly disappeared and we see the impressions and tensions left behind . This idea of an inherent yet mysterious structure is the inspiration for the show&rsquo\;s title and hopefully the link between the two bodies of wo rk.

-- Gary Evans\, June 2015

DTEND:20150815 DTSTAMP:20150705T025004 DTSTART:20150717 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Ghost Host\, Gary Evans UID:388777 END:VEVENT BEGIN:VEVENT DTEND:20150717T220000 DTSTAMP:20150705T025004 DTSTART:20150717T190000 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Ghost Host\, Gary Evans UID:388778 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150815 DTSTAMP:20150705T025004 DTSTART:20150717 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:New Work\, André Ethier UID:388773 END:VEVENT BEGIN:VEVENT DTEND:20150717T220000 DTSTAMP:20150705T025004 DTSTART:20150717T190000 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:New Work\, André Ethier UID:388774 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150711 DTSTAMP:20150705T025004 DTSTART:20150605 GEO:43.6443976;-79.4179483 LOCATION:Paul Petro Contemporary Art\,980 Queen St West \nToronto\, Ontario M6J 1H1 SEQUENCE:0 SUMMARY:Diva Remix\, Andrew Harwood UID:388770 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150822 DTSTAMP:20150705T025004 DTSTART:20150718 GEO:43.6417293;-79.4027528 LOCATION:Diaz Contemporary\,100 Niagara St. (at Tecumseth) \nToronto\, ON M 5V 1C5 SEQUENCE:0 SUMMARY:Blind White\, Jen Aitken\, Abbas Akhavan\, Aude Pariset\, Nicolas S assoon\, Mark Soo\, Rachelle Sawatsky UID:388769 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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AN GELL GALLERY is pleased to present NICHOLAS CROMBACH: TRAPPED\, a solo exhibition of recent figura tive sculpture by this award-winning artist. The show runs in the east gall ery from July 25 to August 15\, 2015\, with an opening rec eption on Saturday\, July 25\, 1:00 to 4:00 PM.

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In the past two decades\, figurative sculpture has re-emerged as a potent form\, with international heavy hitters such as Kiki Smith\, Charles Ray\, Maurizio Cattelan\, Carole Feuerman and Pierre H uyghe using figuration to express a wide spectrum of issues.

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In presenting 2014&rsquo\;s twenty-five person grou p show\, The Human Factor: The Figure in Contemporary Sculpture\, the Hayward Gallery in London noted that artists today &ldquo\;use the figu re as a point of departure for exploring a far-ranging social landscape\, a nd for questioning the ways in which we represent the &lsquo\;human&rsquo\; today. \;

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Within Canada\, emergi ng artist Nicholas Crombach is quickly joining the ranks o f Evan Penny\, Stephen Scofield and Karine Giboulo as an important figurati ve sculptor. While working within the tradition of representation\, Crombach\, like Giboulo\, tackles contemporary ethical issues\, s pecifically our dependency on\, and obsession and coexistence with the anim al world. Raised on a dairy farm\, Crombach grew up surrou nded by animals\, and the works in Trapped act as a metaphor for humankind&rsquo\;s paradoxical relationship with our fellow creatures.

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Canny juxtapositions of d omestic objects\, human figures and animals\, sculpted in clay then cast in resin\, represent the complex dynamics of instinct and emotion. An aging m ale wearing long johns and a toque\, a classic Canadian symbol\, carries a toy bow and arrow. Like the other figures in Trapped\, he appears resigned\, exhausted\, a prisoner of life\, his weapons tr ansformed from tools of survival into the accoutrements of a child&rsquo\;s game. In the large wall-mounted sculpture\, Still Life\, a repres entation of a bear hide\, coupled with a bouquet of flowers and an empty va se\, reference the Dutch 17th century vanitas tradition\, while questioning the ethics of trophy hunting and taxidermy.

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Several works feature the unusual technique of embroidered lead. Th e contrast between these two very different materials is mirrored by the op posing themes they embody. In Kissed Goodbye\, a pebble\, slingsho t and dead bird evoke both regret and triumph\, a fitting statement on the human-animal relationship.

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Ni cholas Crombach graduated from OCAD University&rsquo\;s Sculpture and Installation program in 2012. He has been awarded the Hayden Davies Mem orial Award\, Samuel Lazar Kagan Award\, Abraham and Malka Green Award\, an d a BMO 1st Art Nomination. His work has been seen at Word On The Street\, Katharine Mulherin Contemporary Art Projects\, the Al Green Gallery and Whi ppersnapper in Toronto. He was also preselected for Figurativas 13 at the Museum of Modern Art in Barcelona. In 2012 Crombach executed a publ ic art commission\, Billy\, Nanny\, and the Kids\, in Burlington.< /p>\n

DTEND:20150815 DTSTAMP:20150705T025004 DTSTART:20150725 GEO:43.6445305;-79.4190129 LOCATION:Angell Gallery\,12 Ossington Avenue \nToronto\, Ontario M6J 2Y7 SEQUENCE:0 SUMMARY:Trapped\, Nicholas Crombach UID:388763 END:VEVENT BEGIN:VEVENT DTEND:20150725T160000 DTSTAMP:20150705T025004 DTSTART:20150725T130000 GEO:43.6445305;-79.4190129 LOCATION:Angell Gallery\,12 Ossington Avenue \nToronto\, Ontario M6J 2Y7 SEQUENCE:0 SUMMARY:Trapped\, Nicholas Crombach UID:388764 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A collaborative project by Nadia Belerique\, Lil i Huston-Herterich and Laurie Kang. The forms of collaboration implicit in this project are not found simply within the artists&rsquo\; collectivity b ut implicate the curator\, the institution\, the viewer and the space of th e gallery itself.

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Nadia Belerique\, Lili Huston-Herterich and Laurie Ka ng employ distinct approaches to the investigation of the intrinsic playful ness and performativity of objects and photographs in their individual arti stic practices. Invited to work collectively for The Power Plant\, the arti sts&rsquo\; first group project appears within the frame of a wider examina tion of contemporary collaboration.

Taking this invitation as its starting point\, The Mouth Holds the Tongue foregrounds the pleasures inherent in representing a nd experiencing time and space. It points towards collaborative methodologi es by privileging temporal fissures and offering temporality as a visceral means of organizing individuals non-hierarchically. The forms of collaborat ion implicit in this project are not found simply within the artists&rsquo\ ; collectivity but implicate the curator\, the institution\, the viewer and the space of the gallery itself.

Aimed at redistributing institutional forms of power\, the art ists&rsquo\; site-specific architectural structure renders fluid the roles of all those involved in the exhibition as well as those of the artworks an d walls that bear them as they begin to meld and fold into one another. Eff ectively turning the gallery space upside-down\, this approach functions to entangle bodies through non-sequential interactions. In so doing\, the art ists provide opportunities for those navigating their space to connect in v arying degrees of reciprocity.

The structure&rsquo\;s reference point comes from architect Aldo V an Eyck&rsquo\;s temporary pavillion built for the 1966 Sonsbeek Exhibition in Arnhem\, Netherlands. The pavillion\, originally intended to house a se ries of artworks\, sought to achieve Van Eyck&rsquo\;s concept of labyrinth ine clarity\, an architectural approach aimed at offering a more playful an d fluid interaction amongst individual users. Such structures employing thi s concept embrace the ambiguity of time and space and prompt their users to move freely within them. The artists&rsquo\; reworking of Van Eyck&rsquo\; s Sonsbeek hinges on a sense of feminist rigour in its redistribution of th e architectural elements typically found in the white cube. Having been tur ned upside-down\, the walls of the structure curve and bend spontaneously\, hanging above the floor in an effort to propose a more horizontal approach to interaction. More\, the artists&rsquo\; choice of construction material s themselves evoke possibilities for growth and activity to occur. < br />
The exhibition&rsquo\;s title therefore alludes to the artists&rsquo\; conception of the space itself: a richly active and fertile environment that breeds multiple metaphors and i nterpretations. By reframing conventional hierarchies through the exhibitio n&rsquo\;s form and gestural treatments\, the artists provoke consideration of both the feasibility and impossibility of the concepts underpinning the ir project through its concrete manifestation. The space and its users are thus at once the mouth and tongue working together\; the structure actively embodying the possibility to redistribute the roles and positions of its i nhabitants.



Nadia Belerique constructs installations that engage with the poetics of perception and the ways in which images perform in contemporary culture. She received her MFA from the University of Guelph\, and has recently exhi bited at such venues as Daniel Faria Gallery\, Toronto (2014)\, and Kunstha lle Wein\, Vienna (2014). She was awarded the BMW Exhibition Prize during S cotiabank Contact Photography Festival in 2014. Belerique has upcoming exhi bitions at Tomorrow Gallery\, New York\, and the Art Gallery of Hamilton. < /span>

Lili Huston-Herterich has maintained an active studio and curatorial practice in Toronto since sh e received her BFA from York University in 2010. With a focus on multidisci plinary installation\, Huston-Herterich's studio practice is informed by th e tendencies of space and how it shapes the movements within it. She has re cently exhibited at Peregrine Program\, Chicago (2015)\; 8-eleven Gallery\, Toronto (2014)\; Birch Contemporary\, Toronto (2014)\; and OCAD University \, Toronto (2014).

Lau rie Kang works in image-based sculpture and installation. Exhibition and pr oject sites include the Art Gallery of Ontario (2014)\; Feldbuschwiesner\, Berlin (2014)\; Erin Stump Projects\, Toronto (2013)\; Gallery 295\, Vancou ver (2013)\; Camera Austria\, Graz (2013) and Art Metropole\, Toronto (2012 ). She is an MFA candidate at Bard College.

DTEND:20150907 DTSTAMP:20150705T025004 DTSTART:20150620 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:The Mouth Holds the Tongue\, Nadia Belerique\, Lili Huston-Herteric h\, Laurie Kang UID:388756 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Mine is a newly commissioned project wi th a title that refers on the one hand to the commercial activity that invo lves extracting valuable subterranean minerals and on the other appropriate s the possessive pronoun referring to that which belongs to the associated speaker.

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The artist collective jointly known as Tercerunquinto came tog ether in 1998 and is comprised of Julio Castro Carreó\;n\, Gabriel C& aacute\;zares Salas and Rolando Flores Tovar. Their projects involve proces ses of negotiation that enact architectural or infrastructural intervention s within public and private spaces. In an effort to reveal the organization of cultural systems\, Tercerunquinto&rsquo\;s projects interrogate the lim its and possibilities of various institutional spheres and reveal the viewe r&rsquo\;s subject position within the scope of such domains.

In 2005 the collective was invited to create a site-specific intervention at The Power Plant within the frame work of a group exhibition entitled Dedicated to you but you weren&rsqu o\;t listening curated by Reid Shier. Their project Open Access (2005) involved the installation of a second public entrance into the ga llery allowing audiences the opportunity to circumvent admission fees and f ront of house staff and procedures. Ten years later\, Tercerunquinto return to The Power Plant and reflect upon the changes to the site and surround o f the institution.

Th eir response reduces the pristine white cube to a hole in the ground. Their gesture touches upon the traditions of indoor earthworks from the 1960s an d 70s and its foray into a history of institutional critique. Mine is a newly commissioned project with a title that refers on the one hand t o the commercial activity that involves extracting valuable subterranean mi nerals and on the other appropriates the possessive pronoun referring to th at which belongs to the associated speaker. Through the artists&rsquo\; nim ble allusion to linguistic and geographic references\, their project points to questions surrounding shifting conceptions of territory. More\, their g esture of excavation disrupts the notion of ownership and complicates our u nderstanding of property as it relates to both Canada&rsquo\;s mining indus try and its relationship to Indigenous populations.

Their excavation began as an implicit respons e to a call for site-specificity\, for commissioned work from the artist. A s a result\, Mine passes through several varied contexts in an eff ort to create a moment for discursivity\, to reflect upon the sets of quest ions inherent in discussing appropriation. At its core\, Mine call s out to its viewers and asks them to question their sense of possession: w hat does and does not belong to them.

Tercerunquinto was formed in 1998 in Monterrey\, Mexico. Th e collective has developed projects that affect both public and private spa ces\, questioning the limits between the two\, disarticulating the elements that make up these systems and disassembling the logical order of their in terrelationships. It has also sought to challenge the borders organized aro und the constitution of a system\, be it architectonic or urban\, tracing t heir implications and effects in personal\, social\, cultural or political orders. Tercerunquinto has had solo exhibitions at Kunstmuseum Bochum\, Ger many (2014)\; Galerie Peter Kilchmann\, Zurich (2013)\; Kunsthalle Basel\, Switzerland (2013)\; Proyectos Monclova Gallery\, Mexico City (2012)\; Muse um of Contemporary Art Denver (2012)\; Matadero Madrid (2012)\; Espai d&rsq uo\;art contemporani de Castelló\;\, Castelló\;n de la Plana\, Spain (2011)\; and Sala de Arte Pú\;blico Siqueiros\, Mexico City (20 11)\, among others. The artists have also shown in group exhibitions in suc h venues as The Modern Museum of Fort Worth\, Texas\; Centro de Arte Contem porá\;neo\, Quito\, Ecuador\; Museo Tamayo Arte Contemporá\;neo \, Mexico City\; Stedelijk Museum voor Actuele Kunst\, Gent\, Belgium\; Lev el 2 Gallery Tate Modern\, London\; Musé\;e D&rsquo\;Art Moderne\, Pa ris\; and Centre d&rsquo\;Art Contemporain\, Geneva\, among others. Terceru nquinto is based in Mexico City.

DTEND:20150907 DTSTAMP:20150705T025004 DTSTART:20150620 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Mine\, Tercerunquinto UID:388755 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For their commissioned project at The Power Plan t\, Bik Van der Pol continues their investigation on the ways that human ac tivity in the globalized age has a direct effect on ecological systems.

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Liesbeth Bik and Jos van der Pol have worked collectively since 1995. The production and circulation of knowledge is an important tool in their pract ice\, which is predominantly context-specific and largely driven by examini ng the potential and possibilities of art and research. Their projects ofte n take the form of site-specific installations\, participatory environments and discursive activities in order to make visible the largely unnoticed c onditions or realities of a globalized economy and its effect on urban and natural spaces.

For i nstance\, in 2010 the duo first exhibited Are you really sure a floor c an&rsquo\;t also be a ceiling\; an architectural structure loosely bas ed on Mies van der Rohe&rsquo\;s Farnsworth house. Largely considered one o f the most radically minimalist homes ever designed\, the Farnsworth house aimed to intertwine the realms of indoor and outdoor space. The artists&rsq uo\; model functioned as a temporary home for butterflies\, recognized as a n indicator species for climate change as they are particularly sensitive t o environmental degradation.

For their commissioned project at The Power Plant\, Bik Van der Pol continues their investigation on the ways that human activity in the globa lized age has a direct effect on ecological systems. Their title references the concept of eminent domain coined by author Hugo Grotius in 1625. Emine nt domain is understood as the power that the State may exercise over land within its territory\, whereby the government or one of its agencies has th e right to expropriate private property for public use through payment or c ompensation. By foregrounding this concept\, Bik Van der Pol&rsquo\;s proje ct alludes to the increasing privatization of previously public goods inclu ding territory\, property and the public domain at large.

Through installation and sound\, they have conceived of an environment in the gallery that makes it possible to g rasp the overwhelming data related to ecology and species extinction figure s. Soundscape Ecologist Dr. Bernie Krause contributes to the environment th rough the installation of collective and structured sounds produced in heal thy habitats in Borneo\, Costa Rica\, Sumatra and Zimbabwe from the 1990s. Since their original recordings\, each habitat has changed drastically as a direct result of human intervention and natural disasters. Krause&rsquo\;s soundscapes coupled with figures affected by ecological changes results in a project that moves data from abstraction to experience.
By physically situating and mirroring the viewer amidst these statistics\, they shift from spectator to engaged participant. As a result\, Bik Van der Pol&rsquo\;s research offers an oppo rtunity for the gallery to become a site for discursive activities that exa mines both the re-articulation of public and private property and the threa t of such activities on natural environments.

Through their practice\, Bik Van der Pol aim to ar ticulate and understand how art can produce a public sphere\, and to create space for speculation and imagination. This includes forms of mediation th rough which publicness is not only defined but also created. Their working method is based on co-operation and research inquiries surrounding the acti vation of situations serving the creation of platforms for various kinds of communicative activities. Recent solo shows and projects include Ternitz\, Austria (2014)\; 31st Bienal de Sã\;o Paulo (2014)\; Witte de With C enter for Contemporary Art\, Rotterdam (2014)\; CAFAM Biennial\, Beijing (2 014)\; the Biennale of Mercosul\, Porto Alegre (2013)\; Hoog Catherijne\, U trecht (2013)\; Between A Rock and A Hard Place in collaboration with Musag etes\, Sudbury\, ON (2011)\; The ENEL Award\; MACRO\, Rome (2010)\; and The Western Front\, Vancouver (2010). Recent curatorial projects include Kunst fort Asperen\, Acqouy (2011)\; and Plug In\, Van Abbemuseum\, Eind hoven (2009). They are currently the course directors of the School of Miss ing Studies at the Sandberg Institute in Amsterdam.

Audio field recordings by Dr. Bernie Krause\, Wild Sanctuary\, Glen Ellen\, California. ©\; 2015 Wild Sanctuary. All Rights Reserved.

DTEND:20150907 DTSTAMP:20150705T025004 DTSTART:20150620 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:Eminent Domain\, Bik van der Pol UID:388754 END:VEVENT BEGIN:VEVENT DESCRIPTION:

(art)work(sport)work(sex)work aims to m ap how ideologies\, socially accepted norms and legislations govern the con ditions of work and participation within the fields of contemporary art\, m ulti-sports events and sex trade. In an effort to triangulate these fields and situate them within the urban space of Toronto\, a series of bus rides will take place each Saturday throughout the duration of the exhibition.

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YES! Association/Fö\;reningen JA!
In dialogue with Emy Fem

Bus rides hosted by Sophy Chan\, Michè\;le Pearson Clarke\, Emy Fem\, Savoy "Kapow!" Howe\, Maria Hupfield\, Elene Lam togethe r with Butterfly &ndash\; Asian and Migrant Sex Workers Support Network\, P earl Love Lee\, Frances Mahon and Megan Ross\, Leslie McCue and Lindy Kinos hameg\, Hazel Meyer and Cait McKinney\, Malin Arnell and Å\;sa Elz&eac ute\;n from YES! Association/Fö\;reningen JA!

CURATED BY JULIA PAOLI


W ithin the context of this season&rsquo\;s wider examination of contemporary collaborations\, The Power Plant presents a commissioned project by YES! A ssociation/Fö\;reningen JA!\, an art collective\, an artwork\, an assoc iation\, an art worker\, an institution\, a group of people working to over throw the ruling system of heteronormative\, patriarchal\, racist and capit alist power structures. YES! Association/Fö\;reningen JA! puts into pra ctice a structural redistribution of access to financial resources\, space and time within the contemporary art sphere through engaging in strategies related to rights discourse and inclusion\, radical difference and utopia.

(art)work(sport)w ork(sex)work aims to map how ideologies\, socially accepted norms and legislations govern the conditions of work and participation within the fie lds of contemporary art\, multi-sports events and sex trade\, by specifical ly addressing The Power Plant\, the Pan Am and Parapan American Games\, hos ted in Toronto this summer\, and Canada&rsquo\;s new sex trade law Bill C-3 6. In so doing\, YES! Association/Fö\;reningen JA!&rsquo\;s project pro mpts a series of questions: How are these fields connected and entangled wi th one another? How are the divisions amongst them demarcated? What governi ng bodies are given the power to define these demarcations? Who is able to work within each field? What are the regulations that condition ones behavi our and why are these regulations within each field markedly different from one another?

In an ef fort to triangulate these fields and situate them within the urban space of Toronto\, YES! Association/Fö\;reningen JA! has allocated a portion of its exhibition budget towards a series of bus rides that will take place e ach Saturday throughout the duration of the exhibition. People and groups b ased in Ontario who work within the fields of visual art\, sports culture a nd sex trade have been invited to host each week&rsquo\;s ride.

The bus rides provide an intimat e space\, a collective mode of transport\, bringing participants together w hile moving through the infrastructure of the city and offer time and space for collective responsibility\, sustained engagement and trust. Before emb arking on the ride\, participants meet within the exhibition space where YE S! Association/Fö\;reningen JA! has constructed a liminal space\, a bus terminal of sorts\, that houses material and objects in relation to the in vited hosts&rsquo\; engagements and work. The space itself is ever-evolving \, as documentation from the previous week&rsquo\;s ride is continuously ad ded.

Through both the scope and framework of (art)work(sport)work(sex)work\, YES! Assoc iation/Fö\;reningen JA! presents a project that carries both the risks and the possibilities in positioning the institution as a site that can be regularly taken up\, challenged and reconstituted by those who create\, inh abit\, critique\, and disassemble it.

DTEND:20150907 DTSTAMP:20150705T025004 DTSTART:20150701 GEO:43.6393597;-79.3829625 LOCATION:The Power Plant\,231 Queens Quay West \n Toronto\, Ontario M5J 2G8 SEQUENCE:0 SUMMARY:(art)work(sport)work(sex)work UID:388753 END:VEVENT BEGIN:VEVENT DESCRIPTION:

To coincide with the artist' s summer exhibition QWYC (Queen West Yacht Club) at the MOCCA in T oronto\, MULHERIN is pleased to present a selection of recent photo-based a nd sculptural work by Canadian artist\, Dean Baldwin. The exhibition opens on Thursday\, June 18 from 6-9 pm.

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Artist Dean Baldwin's installation\, photo and video work often employsfood\, drink and social practices that actively engage t he audience and invite participation. The artist obtained a BFA from York U niversity in Toronto and a Masters of Fine Arts from Concordia University i n Montreal. His work has been exhibited at Centre Clark in Montreal\, the Art Gallery of Ontario\, No. 9: Contemporary Art &\; Environment\, JMB Gallery Hart House and Katharine Mulherin Contemporary in Toronto\, Space Studios in London\, Volta 5\, Basel (with Katharine Mulherin) and White Box in New York. His work was included in the Montreal Museum of Contemporary Art's T riennial and the Oh\, Canada exhibition at Mass MoCA. In 2013\, he was the artist in residence at Darling Foundry (Montreal) exchange program in Mum bai\, India.

DTEND:20150719 DTSTAMP:20150705T025004 DTSTART:20150618 GEO:43.6436621;-79.4219044 LOCATION:Katharine Mulherin Contemporary Art Projects\,1082 + 1086 Queen St reet West \nToronto\, Ontario M6J 1H8 SEQUENCE:0 SUMMARY:Solo Exhibition\, Dean Baldwin UID:388752 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Buenos Aires\, Mexico\, New York\, Toronto" includes photog raphs by André\; Kerté\;sz from across the Pan-Americas.
< br />After Kerté\;sz and his brother Eugenie fled Hungary\, Andr&eacu te\; immigrated to New York while his brother immigrated to Buenos Aires. T he two remained close and frequently visited each other. This is the story of the Americas - of movement and displacement.

Known for his ly rical\, spontaneous photographs of everyday life\, Kertesz's black-and-whit e images have exerted a strong influence on both art photography and photoj ournalism.

DTEND:20150831 DTSTAMP:20150705T025004 DTSTART:20150707 GEO:43.6503762;-79.358817 LOCATION:Corkin Gallery\,7 Tank House Lane \nToronto\, Ontario M5A 3C4 SEQUENCE:0 SUMMARY:André Kertész\, Buenos Aires\, Mexico\, New York\, Toronto\, André Kertész UID:388701 END:VEVENT BEGIN:VEVENT DTEND:20150707T200000 DTSTAMP:20150705T025004 DTSTART:20150707T180000 GEO:43.6503762;-79.358817 LOCATION:Corkin Gallery\,7 Tank House Lane \nToronto\, Ontario M5A 3C4 SEQUENCE:0 SUMMARY:André Kertész\, Buenos Aires\, Mexico\, New York\, Toronto\, André Kertész UID:388702 END:VEVENT END:VCALENDAR